Fastidious Felix Unger of TV’s “The Odd Couple” fame often expressed his frustration with his slovenly roomie Oscar Madison by sighing, “Oscar, Oscar, Oscar,” a frustration that could just as well apply to the Academy of Motion Picture Awards for its blatant liberalism and tireless adherence to politically correctness. 

An Academy Award statuette, depicting a knight, rendered in Art Deco style, holding a crusader's sword  I, for one, don’t give a tinker’s damn who or what wins an Oscar at the 84th Academy Awards of Merit festivities on Sunday.  

Not that it matters but no one seems to know the derivation of the term “Oscar.”  What does matter is that the Academy Awards show is meaningless except insofar as it is probably the most vivid example of American shallowness, exalting movie stars to the level of demigods as exemplars of the best America has to offer the world and featuring some of the most superficial, most vapid human beings on the planet applauding themselves. 

Let’s face it, actors and actresses gain fame and fortune by pretending they are someone else, mostly by acting as if they were whores or roues, or confused wives or philandering husbands, or by portraying average people caught up in life’s angst. 

All that pretending eventually warps minds. 

Nowadays, with some exceptions, few films depicting normality are contenders for Oscars  and fewer actors and actresses nominated for acting awards are depicted as normal nor are they normal in real life.  That is, unless you consider normality widespread use of illegal substances, bed-hopping, multiple marriages, and out of wedlock pregnancies as normal. 

Is it any wonder movie-going has fallen off drastically or that American culture is slipping down the toilet with Hollywood as a role model?  

Tinseltown’s elitists tend to choose as winners of Best Actor Awards people who reflect their own prejudices and leftist political views and pick the Best Picture on the same bases. 

Years ago, Hollywood produced outstanding motion pictures, movies most Americans could be proud of and relate to, films showing American life not always in the best light yet usually true and honest. 

Over the last 40 years as extremists have taken control in Hollywood, the Oscar ceremonies have deteriorated and have been replete with moments that are more embarrassing than memorable.  Cases in point: Marlon Brando’s 1973 absentee acceptance speech, George Clooney using the opportunity in 2003 to rip venerable star Charlton Heston, comedian Chris Rock’s insult-laden 2004 monologue, and the award for Best Original Song in 2005 given to a sleazy hip hop band. 

Brando’s racially-charged condemnation of the country that made him a millionaire was delivered by a woman billed as an American Indian protesting the condition of Native Americans.  Sacheen Littlefeather turned out to be an actress who merely played Indians. Despite Brando’s deeply-felt objections, she accepted the award on his behalf.  

Clooney shamelessly mocked Heston because he headed the National Rifle Association and was afflicted with Alzheimer’s disease and, still, his compatriots all but worship him. 

With no redeeming comic value, Rock dissed actor Tobey Maguire as “just a boy in tights” and Jude Law as an over-exposed nonentity, senseless abuse that years ago was unheard of.  

Three Six Mafia’s ”It’s Hard Out There for a Pimp” was judged the best movie song of 2005. It features such lyrics as “Dun seen people killed, dun seen people killed,/dun seen people living poverty with no meals/It’s f**ked up where I live/But this sh*t’s how it is.”  

The Passion of the Christ  2005 was the same year the Academy totally ignored the top-grossing film of the year, “The Passion of the Christ,” which must h        

This year’s 9 nominees for Best Picture include “The Help,” a socially-conscious story of Southern racism during America’s 1960′s Civil Rights upheavals, and “War Horse,” a gritty, uplifting tale of British loyalty and bravery.  “The Help” will undoubtedly win since social consciousness always trumps loyalty in Hollywood even if “War Horse” is a superior movie.  

The Academy more often than not nominates and picks best acting and picture winners according to their ideology, not according to acting achievements or movie quality. 

How else to explain Whoopi Goldberg’s 1985 Best Supporting Actress award for her comic relief role in “Ghost”?  Or, the 1995 Best Picture “Forrest Gump” over “The English Patient” and “Dances with Wolves”?  

For that matter, how do we account for this year’s farce of the Academy banning Sacha Baron Cohen who had condemned “the Zionist snakes of Hollywood” and a few days later agreeing he could attend in costume as the dictator Admiral Shabazz Aladeen to promote his movie?      

There are five nominees for Best Actor, among whom is George Clooney for “The Descendants.”  Clooney should win, mainly because he’s one of Tinseltown’s favorite leftists.  

For Best Actress, it’s a closer call: Glenn Close playing a cross-dressing Albert Nobbs or Meryl Streep as the “Iron Lady,” Dame Margaret Thatcher.  Considering the number and influence of homosexuals in Hollywood, I’d bet on Close though the Left despises Thatcher almost as much as they love gays. 

Whatever the outcomes on Sunday, it makes more sense and would be more productive to play Monopoly or Parcheesi than to waste four hours of your time watching boring leftists who think they’re better than the hoi polloi strut their finery and pat themselves on the back on the Oscars.